Giorgio de Chirico - "The Poet and the Muse" (1971)

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Giorgio de Chirico - "The Poet and the Muse" (1971)

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©yama-bato
Throbbing Gristle at Industrial Recordsâ studio on February 16, 1980.
đ· Brian Griffin
"Eyes" â Louise Bourgeois â polished bronze on a public plaza

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âGround Control to Major Tomâ
âFragment of the Face of a Queenâ (ca. 1353â1336 B.C.) â Egypt
Brent Wadden [Canada] (b 1979) - âUntitledâ, 2019. Hand woven fibers, wool, cotton and acrylic on canvas in the artistâs frame (230x144x3 cm).
Endless Echo hat by artist Heidi Lee.

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Egyptian handle depicting a lion subduing a Nubian, a pretty common motive during the Ramesside period. With the lion symbolizing the pharaoh, it's meant to represent the pharaoh's power (in this case, over the Nubians)
New Kingdom, reign of Ramesses II, ca. 1279 - 1213 BCE
Metropolitan Museum of Art 1989.281.92
Untitled #361
Dervish Lodge banner | Ottoman Empire (19th century)
Patti Smith in her room at the Chelsea Hotel. Photo by Albert Scopin Schöpflin.

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Charlotte Park, Jubilee, 1955. Oil on canvas, 68 x 58 in. © James and Charlotte Brooks Foundation. Courtesy of Berry Campbell, the Levett Collection, and FAMM. Photo: Fraser Marr.
Women of Abstract Expressionism at Muscarelle Museum https://www.artsandcollections.com/women-of-abstract-expressionism-at-muscarelle-museum/
Charlotte Park, also known as Charlotte Park Brooks (1918â2010) was an American abstract painter. Park, who worked as a graphic artist for the Office of Strategic Services intelligence agency during World War II, became a professional artist after the war. Working in studios in Manhattan and then in eastern Long Island, she was associated with and drew support and inspiration from her husband James Brooks and other first-generation abstract expressionist artists, including her neighbors Jackson Pollock, and Lee Krasner.[1] During most of her career, she neither sought nor received praise from critics and collectors, but late in life was celebrated for her artistic achievements and showed her work in prestigious solo and group exhibitions.[2][3] At the end of her life a critic said, "Hers was a major gift all but stifled by a happily embraced domesticity and by the critical bullying of a brutally doctrinaire art world." via W
Lech MAJEWSKI - Wielki Szu, 1983